lightness as Gian Bologna's famous Mercury, represents
Fortune and turns with the wind. The next building (with a green and
shady garden on the Giudecca side) is the Seminario Patriarcale, a great
bare schoolhouse, in which a few pictures are preserved, and,
downstairs, a collection of ancient sculpture. Among the pictures is a
much dam-aged classical scene supposed to represent Apollo and Daphne in
a romantic landscape. Giorgione's name is often associated with it; I
know not with what accuracy, but Signor Paoli, who has written so well
upon Venice, is convinced, and the figure of Apollo is certainly free
and fair as from a master's hand. Another picture, a Madonna and Child
with two companions, is called a Leonardo da Vinci; but Baedeker gives
it to Marco d'Oggiano. There is also a Filippino Lippi which one likes
to find in Venice, where the prevailing art is so different from his.
One of the most charming things here is a little relief of the manger;
as pretty a rendering as one could wish for. Downstairs is the tomb of
the great Jacopo Sansovino.

And now rises the imposing church of S. Maria della Salute which,
although younger than most of the Venetian churches, has taken the next
place to S. Mark's as an ecclesiastical symbol of the city. To me it is
a building attractive only when seen in its place as a Venetian detail;
although it must always have the impressiveness of size and accumulation
and the beauty that white stone in such an air as this can hardly
escape. Seen from the Grand Canal or from a window opposite, it is
pretentious and an interloper, particularly if the slender and
distinguished Gothic windows of the apse of S. Gregorio are also
visible; seen from any distant enough spot, its dome and towers fall
with equal naturalness into the majestic Venetian pageant of full light,
or the fairy Venetian mirage of the crepuscle.

The church was decreed in 1630 as a thankoffering to the Virgin for
staying the plague of that year. Hence the name--S. Mary of Salvation.
It was designed by Baldassarre Longhena, a Venetian architect who worked
during the first half of the seventeenth century and whose masterpiece
this is.

Within, the Salute is notable for possessing Tintoretto's "Marriage in
Cana," one of the few pictures painted by him in which he allowed
himself an interval (so to speak) of perfect calm. It is, as it was
bound to be in his hands and no doubt was in reality, a busy scene. The
guests are all